Here we now stand, on the leading edge of 2011. Happy new year!

I’m as giddy as a school boy about all the exciting new possibilities that lay ahead with projects, image ideas and prospective new work, and judging by all the Twitter and Facebook activity that I’ve been reading during the past couple of weeks, I’m not the only one.

After slugging it out in 2009, it seems as if the photography world is finally back on it’s feet.  We’re not talking rock solid stance here, but it’s certainly not lying comatose with an IV stuck in its arm either like it was during the first calendar page of 2010.

I don’t have exceedingly fond memories of one year ago. Assignment work had all but dried up, few people had money to spend on photography courses and my stock agency income had crashed like an ultra marathoner that had hit the wall and run out of GU. Plus, I was still the relative “new guy in town” here in Anchorage and even though I was starting to make waves, I still wasn’t getting very much work from the local design and advertising community.

However, now looking back, it’s almost intriguing to me how I managed to crawl out of the rubble and turn it all around. For months, I had been wracking my brain, trying to figure out what else I might do if photography continued to fail. As I mentioned in my Top 10 Highlights for 2010 post, I spent about five solid weeks doing online technical writing, which serendipitously evolved into my regular position at The Photoletariat.

By February, the bleeding stopped and the phone actually started to ring again, By Springtime, I felt like I was finally climbing out of the rubble pile, and by summertime, I not only felt like I had rescued my business from utter disaster, I was actually started to see a host of new possibilities that not only allowed me to get things back on track, but that allowed me to actually be in control of my own destiny.

Although I pride myself on my ability to work hard, I feel that the effort and energy that put into brainstorming, creativity, marketing and production in 2010 topped all previous years by huge leaps and bounds. My brain is nearly exploding from all the new ideas I have, and like I said above, from what I’ve been reading, there’s a good chance that yours is too.

We stand on the edge of a new dawn. The economy is indeed recovering and the internet has provided us with an entire new world of potential clients, customers, collaborators and colleagues who can inspire and motivate us.

By some estimates, there are now two billion people online. Two BILLION. If even one tiny, minute fraction of a percentage of those people became your customers, you’d be well on your way achieving success. All you need to do is find them and think of creative ways to make them want to buy into your brand in some way, whether they actually buy your products or even just refer you to others. In this new age of social media, word of mouth carries much more power than it ever did in the past.

I closed out 2010 with a slew of new equipment, software and computer upgrades and renewed enthusiasm in preparation for 2011. I’m actually more excited about my photography business than I have been in years, both creatively and professionally, and if you’ve recovered from the beating that we all took in 2009, then I’ll bet that you are as well. We just need to stay focused and stay motivated. Success is out there for us, we just need to reach out with long creative arms and grab it.

So, take a deep breath and get ready, for we’re all about to jump into a very promising new year as we continue on our path of creative image making. Let’s see what we can learn and accomplish this year.

Here we go!

January 3, 2011
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Welcome to 2011!
The Last Roll of Kodachrome Ever Will be Processed Today at Dwayne's Lab in Parsons, Kansas. Photo by Steve Herbert for The New York Times

There’s something sad about finality.

We don’t want it, especially when it involves something that we love. Unfortunately, though, whether we want it or not, everything eventually ends. When that finality comes, we look back with nostalgia and remember, usually with a tear in our eye.

Today, the very last roll of Kodachrome ever will be processed at Dwayne’s Photo Lab in Parsons, Kansas. After that, the machine will be disassembled and sold for scrap.

The truth is that we’ve been saying our goodbyes to Kodachrome for some time now. With the emergence of digital imaging, most photographers stopped using slide film years ago. Kodak discontinued the world’s most famous and perhaps best slide film in June of this year, and last year, they stopped making the chemicals needed to develop the film. So, we knew that it was only a matter of time when the last roll would actually be shot and processed by anyone.

Fittingly, after being used by photographers for over a half century to document every corner of the earth and probably most of the people in it, that last roll was exposed by Dwayne Steinle, the man who own’s the only remaining Kodachrome lab in the world. He searched for a film camera that still worked and then shot photos of his family, his house and his town. He’s saving the very last frame for a shot of his employees standing in front of the lab wearing the T-shirts above, which you can order from the lab.

So, like all of you, even after bidding my own fond farewell to Kodachrome back in June, I now say my final goodbye to a wonderful film and to a true and literal golden era that has now come to pass. I might even buy a shirt to help me through the grieving process.

Read the full article about the Dwayne’s Lab and the last roll of Kodachrome in the New York Times.


December 30, 2010
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Kodachrome: 1935-2010

Last week I wrote a guest post on the ProPhotoResource site, titled A Professional Photographers Income Stream. It’s about the importance of diversifying your income stream and creating multiple revenue streams that all add up to a livable income from your photography business.

This was the first time I’ve written for ProPhotoResource, a great online community and resource for pro photographers, as well as amateurs who are serious about the business of photography. The site is provides a wealth of creative and industry related posts that are written by a number of talented working photographers.

Visit ProPhotoResource.com and read my post.

December 27, 2010
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A Professional Photographers Income Stream- Written for ProPhotoResource.com

Well, we’re just about to the end of another year, and like many other people, I can’t help but look back on 2010 and reflect on some of the things that have really mattered to me, both creatively and professionally. I’m almost sad to see the year end, because I feel that I grew quite a bit as a photographer in a number of areas during the past 12 months.

Although 2010 began on very weak legs, I got tired of being a victim to the economic slump. I quickly put the pedal to the metal and started ramping things up with new ideas, which quickly grew into new opportunities. Before long, business starting booming, and as the year went on, I spent hugh amounts of time laying the groundwork for future possibilities, many of which I’m already starting to see pay off.

This only gives me increased hope and confidence for 2011, which I’m eagerly awaiting like a skier who’s lined up at the starting point waiting for the gate to drop. I look forward to the coming year and to all the opportunities and contacts that it brings. Of course the VERY BEST thing about 2010 is that it was NOT 2009!

It’s always good to journal this kind of stuff, so here are my 10 most exciting photography highlights from 2010. Does this mean I have to come up with 11 highlights for next year?

1. Favorite New Client: Twentieth Century Fox Film Corporation

Back in February I got a call from the marketing department at Fox Searchlight Pictures. They were looking for an adventure photographer to shoot outdoor stills for the movie 127 Hours. Things came together and in March they flew me down to Los Angeles and then out to Utah to shoot a day on the set with director Danny Boyle and the rest of the crew.

I also lined up to shoot all the canyon scenes for 12 more days in April, but despite the fact that the Fox people really wanted me, the producer made a last minute call and decided not to have a still photographer on the reduced unit canyon crew. Oh well, even though I didn’t get to shoot the full job, I still got to meet and shoot for a great new client. Hopefully they’ll have me back!

2. Favorite Assignment: Shooting Aerials of Denali for Holland America

In June, another great new client, Holland America and their media company, Story Worldwide, hired me to photograph the cover story about Denali for Mariner Magazine. In addition to getting landscape and wildlife shots, I got to shoot aerials of Denali (Mt. McKinley) from the back seat of a Cessna 206. As fun as the 127 Hours job was, this assignment was even more fun and fulfilling, since I got to spend some quality time exploring one of the most amazing wilderness areas in the world.

Honorable mention here, I also really enjoyed shooting the Iditarod Start for Jeff Schultz Photography. Jeff has been the official Iditarod photographer for many years and so I was really excited that he asked me to help him cover this year’s event. I’m trying to get him to bring me out on the trail for the 2011 Iditarod.

3. New Equipment

In March, I added a Nikon D700 DLSR to my arsenal, and later in the year I invested in some more lighting gear, including a Nikon SB-900 Speedlight, Lastolite TriGrip diffuser, Bogen Magic Friction Arm, Justin Clamp, Photoflex LitePanel, and Lowepro Inverse 100 AW camera bag. (Read my field test review here.)

Out of all that stuff, my favorite purchase was the D700. I LOVE the image quality and that it can shoot full 14-bit RAW at 5 FPS. I’ve used it on nearly every single shoot since I got it and expect even more action with it in 2011. I’m also really excited about the lighting gear, because it’s really opened up some ideas and capabilities for creating diverse types of new imagery.

4. The Photoletariat

When 2010 first started, business was so slow that did some freelance technical writing on the web for a few weeks for sites like eHow and Demand Studios. It brought in some quick cash and honed my writing skills. In the middle of January, I stumbled on an online ad for a paid photo blogger position. I quickly put together a resume and some writing samples and sent them off.

I got the job and my first post, The Adventure of Photography went live for The Photoletariat on April 2. Since then, I’ve written over 100 posts and continue to be their main featured contributor. Writing for The Photoletariat has been an awesome experience for a number of reasons. It keeps me on the pulse of what’s going on in the photography world, it keeps me motivated and inspired with my own creativity and its allows me to get my content out there to a new audience.

5. My Blog

Although I’ve been running my blog for well over three years, it really took off in the second half of this year. Inspired by my success writing for The Photoletariat, I picked up the 31 Days to Build a Better Blog eBook and started ramping things up on my own blog with brand new content, reviews, introspective and informative articles, and some fun pieces.

Since then, my readership has shot through the roof, and the entire process has not only opened up a variety of new ideas and opportunities, it has connected me with many great photographers out there who I regularly keep in touch with on Twitter and Facebook; again, people who I probably never would have met. You know who you are! Thanks so much for reading, commenting and being even remotely interested in what I have to say.

6. My Facebook Page

A year ago, I had just a few followers- mostly family and friends and a handful of clients. Today my Facebook page has well over 500 followers and we’re growing every week with people who are interested in learning more about the world of outdoor photography. It’s been really exciting to see the growth of social media and to figure out how to make it work for my own particular style of professional photography.

Whereas I first used my page as merely another promotional outlet for my imagery, it has turned into a great resource for people who are interested in learning about photography and finding advice, news, tips and sharing their own images, in addition to keeping updated about what’s going on with Dan Bailey Photography.

It’s sort of become the central hub for the whole machine, because it’s the place where you can see my latest imagery and be alerted about new posts that I write here and on The Photoletariat, and see other interesting photography related goodness.

I really value my FB followers and I work hard to give them a reason to stay with exclusive content, discounts on my eBooks, special print offerings and a variety of great content.

Become a fan.

7. My eBook

Last month, I produced and released my first eBook, How to Become a Pro Photographer, a 27-page resource for aspiring and emerging photographers who are curious about what it takes to make the jump towards becoming a working pro. It was the product of many hours of writing, editing and design, and essentially being my first published book, it was quite a big milestone for me. Thanks to everyone who has purchased a copy!

I plan to publish more eBook titles in 2011, and in fact I’m already in the beginning design stages of my next eBook, which is a conceptual, creative guide to photography. Look for that one sometime in January.

8. New Friends and Contacts

One of the best things about 2010 is that I’ve made a huge number of new friends, professional colleagues and contacts. I’ve made many of them through my regular activity on Twitter. Again, you know who you are, and thanks to you, I’ve learned, been inspired and become more informed about the world of photography. I’ve tried to share as much with my followers as well. Hopefully I’ve succeeded. Go ahead, click that little blue widget on the left side of the screen and follow me!

9. New Capital Investments

2010 was a big year for spending money, and in addition to the new camera equipment that I purchased, I also invested heavily in other areas of my business. This year saw a new Mac Pro, new ColorVision display calibration system and many software titles and upgrades, including Adobe Lightroom 3, Blinkbid 6, fotoQuote Pro 6, and Scrivener (writing software). Most of these were made in the past two months, which I feel has set me up nicely for 2011. I’m ready to begin the new year with a running start!

10. Fast Track Photographer

I’ve been reading the book Fast Track Photographer by Dane Sanders and it’s really helped me put some things in perspective and give me ideas for planning my own future success. Although I’ve been a working pro for over 14 years, this great little book has really opened my eyes to a number of factors that we face in our industry and it’s helped me define where my own strengths as a photographer and entrepreneur lie so that I can make better use of them in my business.

Even though it’s a relatively short book, it’s taken me a considerable amount of time to absorb, digest and work through the process that it outlines. It’s already starting to pay off and I’m excited about the ideas that are formulating in my brain about where I want to take my business in 2011.

———-

So, 2010, I bid you a very fond farewell. Thanks for giving me so many great new experiences, ideas, friends and successes.

2011, I only have one thing to say to you: I’m ready!!!

What are your highlights from the past year and what are you looking forward to in 2011? As always, I look forward to reading your comments.

December 22, 2010
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My 10 Most Exciting Photography Highlights from 2010

One of the best ways to improve your photography is to have your images critiqued by a pro. I can look back and remember the specific advice that Galen Rowell gave me when he critiqued my work during the workshop that I took with him in 1993. It helped me tremendously and got me on track to creating stronger images.

Starting today, I’m offering my specially priced, Pro Photo Critiques at a fraction of the cost of a full photography course. Let me help you put your creativity and technical photography skills on the right track today by offering you my personal feedback on your imagery.

How does it work?

Simple. You select the number of images you’d like me to critique and then you click the “Pay Now” button. After your secure transaction is processed via PayPal, you’ll be given a special email address where you can send your images. You can choose to send me one or three images, which I’ll personally review and critique with the same type of professional feedback that I give all of my students.

Afterwards, you will have the option to email me one more time for clarification if you have questions about the critique, however you will not be allowed to send more images.

How long does it take?

In most cases, I will reply within one week, although, I’ll usually get back to you within a day or two. In the event that I am unable to respond for a period of longer than two weeks, you will recieve a full refund.

What kind of feedback will I offer you?

I will review the strength and success of each image and explain the posivive aspects of your photos, and I will offer suggestions on how they might be improved through the use of compositional variations and techical methods. My critique style is very clear and concise, and I always try to give positive feedback on how to improve your imagery, rather than simply judging it. The idea is to focused around helping you learn. This isn’t a contest;  you won’t earn a blue ribbon, but you will receive help creative and technical advice on how you can become a better photographer.

How much does it cost?

The cost is $9.95 for one image, and $19.95 for three images.

What’s my experience?

Good question. I’ve been a full time professional working pro for well over a decade and I’ve taught photography workshops and classes for even longer. I currently teach online photography courses at The Compelling Image. Before turning full time pro, I worked full time as a photo editor in a Boston stock photo agency. My job there was to edit and review thousands of images every single day. The experience gave me a sharp and critical eye for identifying strong imagery and how it can be improved.

Are you ready for your professional critique?

I don’t know, are you ready to learn? If so, then choose your desired image option below and let’s get started!


Number of Images




December 20, 2010
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Improve Your Photography with a Pro Photo Critique
Light And Land: The brand new eBook by Yosemite photographer and author Michael Frye

“I think of the negative as the ‘score,’ and the print as a ‘performance’ of that score, which conveys the emotional and aesthetic ideas of the photographer at the time of making the exposure.” – Ansel Adams, 1983

That’s how Light and Land, the brand new eBook by Yosemite photographer and author Michael Frye, begins. As both a photographer and a trained musician, I can relate to that. When you write music, you notate which notes to play when, and at what tempo, but the piece doesn’t come alive until the individual performer(s) put their technique, style and emotion into the song.

With photography, you start with a RAW file and then make specific adjustments in your digital imaging software that bring the image to life and produce the best and most vivid possible print. In essence, you transform your capture into a stunning photograph.

Much like his book, Digital Landscape Photography: In the Footsteps of Ansel Adams and The Masters, which I reviewed here on my blog last week, “Light and Land” is specifically written for landscape photographers who want to take their digital post-processing skills to the next level.

Through expert instruction and creative inspiration, Michael Frye walks you through the specific techniques for adjusting and fine tuning your RAW image files in Adobe Lightroom or Photoshop. He also explores, step-by-step, the aesthetic considerations behind each type of adjustment you might make to your file, whether it be adding saturation, adjusting the white balance or burning and dodging specific parts of the image.

He not only shows you the how, but also the why. And by why, he means why you might want to make a particular adjustment. The goal is not just teaching you to become proficient in the digital darkroom, but showing you how to enhance your landscape photographs so that they have just the right amount of balance, mood and drama as they reflect your own creative vision and original ideas about the scene.

Using five images that the shot in the Yosemite National Park, the ultimate landscape photographers’ playground, Michael brings those original discussions that Ansel Adams began into the realm of digital photography. He explores highlight and shadow detail, black and white points, and with each image, he outlines a workflow that begins with evaluating the image and then performing the necessary steps towards making the final crucial touches that transform your RAW file into a final, finished image, ready for making fine art prints or delivering to a client.

The 36-page book is very well laid out in a single page, horizontal format, so it’s easy to view on a computer monitor. Each step is clearly explained and shown with screenshots of the individual tool panels. The tool screenshots are a little on the small side, but they’re there to guide you, not to show you exactly what numbers and values to copy, and they’re certainly big enough to do that.

It’s also illustrated with beautiful imagery that certainly reminds us of those old masters who ran around with big box cameras and glass plates back in the day. Michael Frye has indeed picked up the torch and he apparently sees it as his mission to carry on these important traditions and bring them into the digital age. As a photographer and teacher, he has succeeded on both fronts.

And, perhaps the best part, like all the other eBooks from Craft and Vision, it only costs five bucks. It’s well worth that, many times over, and as I keep saying, your photography is definitely worth that.

If Ansel were still alive today, he’d tell you to buy Light and Land. It’s a real treat.

December 17, 2010
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Light and Land: The New eBook by Yosemite Photographer Michael Frye
Nikon D700, 14mm f2.8 lens, off-camera SB-800 Speedlight with CTO gel

A couple of weeks ago, I posted this aviation shot of my friend Udo flying his Cessna 170 over the snow covered Alaska landscape. It was shot with my Nikon D700 and Nikon 14mm f2.8D ED AF lens. I also used a Nikon SB-800 Speedlight to add some dynamic light to the scene and warm up the scene, which I thought worked really well to help bring the image to life.

Today I’m going to show you the before and after and compare it with a couple of shots I made the other day so that you can see how to achieve this type of effect.

As you probably know already, especially if you’ve ever visited the Strobist website, or read anything by Joe McNally, the number one way to improve flash photography is to get the thing off camera. Moving the flash to any other location than straight up front and center gives your light depth and interest.

Over the years, the brilliant photon engineers at Nikon have developed the CLS (Creative Lighting System) to near perfection. I’ll stop saying “near” when they have full CLS radio capabilities built right in that work at any distance and behind any physical barriers without having to buy any extra and expensive non-Nikon accessories like the new Pocket Wizard system that’s about to be released.

At this point, though, the CLS system works way better than it ever did with the SB-26, which was their first Speedlight with wireless off camera slave abilities. In fact, it works so well that there’s almost no reason that you shouldn’t run out and buy a handful of Nikon Speedlights and start experimenting with those puppies.

With the above shot, I held the camera over my left shoulder, and I held the SB-800 in my right hand and triggered the flash with D700’s pop up flash in Commander mode. I wasn’t actually looking through the viewfinder, since that 14mm lens is so wide, you can just point it in the general direction and know that you’re pretty much going to get the subject in the frame. That doesn’t mean it doesn’t take firing a whole bunch of shots to make sure you’ve got the framing just right, but hey, that’s ok now that we don’t burn film anymore.

I also used the included CTO orange gel on the SB-800 to add some warmth to the scene. You have to be careful when doing this type of thing because it can end up looking very unnatural, which is exactly what you don’t want to go for when using flash. The idea is that you want to make it look like you’re NOT using the flash, or at least pull it off so that the light from the flash accentuates instead of drawing too much attention to itself.

With that first shot, I was able to make it look like low, end of the day sun was streaming in from the right side. It’s convincing because that’s actually how winter really looks up here in Alaska. The sun is low all day long and so it casts a warm, orange light, and even though most of the sky is overcast, we’ve all seen those days where the sun shines in under the clouds.

Nikon D700, 14mm f2.8 lens, no flash.

Above is a similar scene (different day) with no flash. The pilot is pretty much lost in shadow. Silhouettes are cool and I’ve sold quite a few of them over the years, but with some subjects, you actually want to see the details. Below that is the scene shot with flash and NO warming gel. It works; the exposure is right on and the side lighting from the flash gives it some good depth, it’s just not nearly as visually appealing as the first shot above.

Nikon D700, 14mm f2.8 lens, SB-800 Speedlight, no CTO gel.

There’s a lot you can do with off-camera flashes in outdoor photography. Check out this awesome video of Dave Black shooting surfing with 8 SB-900’s all mounted together. That’s right, an Octo-rig of flashes. You don’t need to go that far, but with the new Nikon SB-700 Speedlight, you can get yourself a wireless remote flash setup for just over $300, which is quite a bit less than the SB-900 costs these days. I’ll do more posts like this in the future.

Although most of my work in the past has been based around natural light, I’ve found real excitement with the creative and technical opportunities that flash allows. Plus, it makes me that much more marketable, because I can take on a much wider range of jobs. It means that I spend my non-adventure days shooting things like dentist office portraits, which actually pay the bills as opposed to sitting here pounding away on the keyboard writing blog posts.

So get a flash and start tinkering; it will open up a world of new possibilities. You’ll learn alot and once you start to figure that stuff out, you’ll end up becoming a much better photographer.

December 16, 2010
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Photographing Inside the Cockpit with Off-Camera Flash: Warming Up the Scene

The website colortrails.com is featuring me today as part of their artist interview series.

Colortrails is run by photographer and author Dan Moughamian, who wrote the book Adobe Digital Imaging HOW-TOs: 100 Essential Techniques for Photoshop CS5, Lightroom 3 and Camera RAW 6, which I reviewed last month. You might recognize his name, as he’s also the one who reviewed the Nikkor AF-S 24-70mm f/2.8 lens here on this site last week.

Since we share a similar audience, you’ll probably be seeing more of Dan’s reviews and tips here on my blog from time to time, and likewise, I may have some more appearances on his blog in the future. It’s all about helping you further your photography skills, whether it’s behind the camera, or in front of the computer.

Read the interview here and be sure to add colortrails.com to your bookmark list.

December 15, 2010
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Feature Interview with Me on Colortrails.com
Sunrise on Long's Peak, Colorado
Sunrise on the east face of Long's Peak, Rocky Mountain National Park, Colorado

If there is one single tip or mantra that will make all the difference in your photography, it’s this:

You have to be there.

It sounds overly simple because it is, but the fact is that the best images that have ever been created by any photographer, you included, exist for one reason only- because they made the effort to go be in the same place as their subjects. They got themselves out of bed, out of their sleeping bag, out of their tent, out of their car, out of their house or off the main trail, and put themselves out into the world where the action, the emotions and the light are all happening.

Remember that the next time you’re sitting around humdrumming about how you wish you took better pictures, or when you’re feeling stagnant about your creativity or your imagery. Get up out of your chair, grab your camera and go put yourself in a place where something might happen. I guarantee your photos will be so much better than if you just sit there.

December 14, 2010
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The Secret to Shooting the Best Photographs- You Have to Be There